Vertigo is probably the most “philosophical” of all Hitchcock films. Whatever angle you take (the detailed “stalking” scenes, the acting, the object symbolism, etc.), the beauty of Vertigo comes through, overwhelming the viewer. Set and shot on location in San Francisco, Vertigo is a story of obsession that focuses on Scottie Ferguson (James Stewart (Anatomy of Murder(1959)), a former detective suffering from acrophobia (an extreme fear of heights) who is tasked with following one woman by her husband – Madeleine (Kim Novak), because she might be a danger to herself. This film about mistaken identities, grief and seeking love at all costs is also a nuanced psychological thriller. I can’t say I enjoy the very slow pace of Vertigo, but it is an entrancing cinematic experience nevertheless and for a multitude of reasons deserves its number one spot.
Psycho is my confident number two choice. This is a quintessential Hitchcock film with some unbelievable twists and deep psychology. Suspense is the word here. In this story, Marion Crane (Janet Leigh) steals quite a lot of money from her employer’s client and hits the road. However, she needs to rest somewhere on her way to her “financial freedom” and chooses the Bates’ Motel. You need to watch the film to know what happens there. In my review, I talked about how “Hitchcock plays expertly with its audience’s imagination and formed beliefs” in this film, that was also ground-breaking in many ways upon its release. Psycho is a the film that stood the test of time.
“I love mirrors. They let one pass through the surface of things.” (Claude Chabrol, French film director)
This will be my 300th post, and, as now customary, I am writing on objects in films and their (symbolic) meanings. For my other similar article, check outGloves in Films: Hiding True Characterand Desires, when I “celebrated” my 200th blog post. Mirrors can play many roles in films. (Narcissistic) film characters can utilise them to satisfy their vanity (“Gone with the Wind” (1939)); to ego-boost (“Taxi Driver” (1976) or “La Haine” (1995)); for self-examination or to marvel at their transformation (“TheAviator” (2004) or “Vanilla Sky” (2001)); or films use them for dramatic showdowns (“The Lady from Shanghai” (1947)), among many other roles and meanings. However, in this piece, I would like to focus on three interpretations in particular: (i) the usage of mirrors as they demonstrate the character’s dual nature (often revealing the character’s evil/bad nature when that character otherwise appears good); (ii) mirrors used to emphasise secrecy or to reveal secrets; and (iii) the use of mirrors as certain clandestine passages to the Otherworld.
This will be my 100th film review and to celebrate the occasion I thought I would review one of my favourite of psychological horror films – Alfred Hitchcock’s “Psycho”. Adapted from a novel by Robert Bloch, this film is a real classic of psychological horror genre, which practically revolutionised the way horror films were shot ever since its premiere. Relatively innovative in how it presents the characters, story and the ending at that time, Hitchcock’s “Psycho” is as suspenseful and frightening as it is entertaining, and is definitely a “must-see” for anyone who has even a slightest interest in the genre.